Category Archives: 3 Carving Linoblocks

Waratah Tryptich – A Fine Art Linocut

8 Waratah Tryptich - Limited Edition Handcoloured Linocut 1

Well anyone who has followed me on this blog for a while will know I LOVE Waratahs.


There is such a majesty & structural quality to these particular Australian wildflowers not withstanding their bright red colouring with deep green leaves & the fact the flowers occur on long stems coming up from the ground. They really can be ‘seen from afar’ as their name means.

For a while now I have planned to do a Tryptich design using waratahs as a kind of companion print for my Flannel Flower Tryptich. This particular print was a commission for someone as a gift for his wife’s birthday. Did I mention I also LOVE flannel flowers too?

Flannel Flower Tryptich

Last year after my shoulder surgery I found it really difficult to work at all for a few months which was most frustrating! I knew I had to slowly get back so I started with thinking through ideas for new designs & taking some photos.

Eventually I was able to at least draw so one of the first artworks I started on was my Waratah Triptych.

I already knew I wanted to make it into a triptych & I had taken some photos pf both red and white waratahs over the years so decided to incorporate both into this design.

1 Waratah Tryptich - White Waratahs 1 WEB 4

I worked as I usually do. First with the framework for the design, then trawling through the hundreds of images I have of waratahs and finding suitable ones for this particular artwork. This process is interesting for me as I gradually reduce the amount of images I want to work with so I refine the vision I have for this work. I ask questions like – is my point of view from below or above? do I want to abstract any of the images or stay more true to for? How simple do I want the work to be visually? How much black do I want to incorporate? DO I really want to keep the defining structure I started with or would I prefer to break out and change it a little? or a lot?

Eventually I end up with a series of images which I will use as the basis of the work. I then start the drawing.

SKETCHBOOK - Flannel Flower & Waratah Trytiches WEB

Drawing is a process I love and have always loved. I feel that all artists no matter their medium of choice a strong skill base in drawing will always hold them in good stead. It teaches you to look more closely and especially in my case where I like the get the wildflowers I use botanically correct. Even if in the carving of the wildflowers compromise is made as to how they are depicted due to the process of carving lino, I know that they have started as botanically correct.

These are the final drawings of the three panels of the triptych.

DRAWINGS - Waratah Trytich WEB

When it comes to working the drawings into designs that can be carved I again work through creating black and white inked versions. This refines my designs and allows me to experiment with what I think I may be able to carve. These days after having to have shoulder surgery, I really value the ability to still be able to carve my linocuts so I guess for me if I have a clear template of what I want to carve it means I will hopefully will be able to a long time into the future.

Waratah Tryptich DEsign 5

I then transfer these final designs onto the lino ready to carve.

I must say after initially deciding to start small when starting back carving I just could not resist getting stuck into these three larger panels! It was weeks of carving and I must say did challenge my shoulder’s capacity to comply & caused a bit of pain. But I do have the most wonderful masseuse and physiotherapist who both help keep me on the straight and narrow & take away the pain!

And to printing!

For this particular design I decided to just do a colour rough using photoshop just to get an idea of the balance of the colour before handcolouring.

Finally I get to print the designs and then handcolour them! Finally I get to see the original concept from a few years ago actually come to fruition. I am really pleased with the results.

Lynette WEir - Waratahs Tryptich - June 2013 WEB

Here is a little video about the whole process from inspiration to Fine Art Linocut.


Blue Mountains Wildflowers Fine Art Linocut – A Step back in Time

Lynette Weir -Blue Mountains Wildflowers - Oct 2013 WEB

The linocut ‘Blue Mountains Wildflowers’ is really a step back in time for me on many levels from the design inspirations to my memories of this region. As I’ve spoken about before I love the Blue Mountains region west of Sydney, it has such a rugged beauty & the flora & fauna is integral to the whole region. The Blue Mountains has a strong Art Deco influence in architecture and design & examples of that can found throughout the small villages along the ridges leading all the way to Katoomba & beyond. The area really had its ‘heyday’ in the 1900-1960’s and in particular the 1930’s. This linocut art piece is also grounded in family experiences & an inheritance of sorts.

I guess this artwork had its beginnings with family. Both my family & my husband’s family have been keen visitors to the Blue Mountains for many years. When thinking about the Blue Mountains region I found I had so many stories & photos of that time from my mother-in-law & her family in particular, many of whom still live in the Blue Mountains. From honeymoons to day trips and in fact, it is where my husband & I had our honeymoon. It was also somewhere we took our kids for day trips, holidays & to visit family & friends as well.

The wildflowers of this region are truly spectacular. The waratahs & flannel flowers are two of the iconic Australian wildflowers found here & of course I could not go past the ‘Mountain Devils’ – Lambertia formosa – which I have childhood memories of the seedpods dressed up with tulle on sticks like cupie dolls but there are some more vivid examples of these dolls in this newspaper article! I actually still have a couple of  my mother-in-law’s tulle simple versions in an old china cabinet from her ‘nic-nacs’ which I just haven’t been able to part with. So the central panel of this work for me just had to be these three wildflowers.

A lot of research goes into investigating the species of an area, then I always take my own photographs & drawings of each of the species. This helps me to understand the structure of each plant & flower & increases the draftsmanship & design of the piece. There are usually so many I then have plenty to choose for the design.

So a little gallery in of inspirational wildflowers for Blue Mountains Wildflowers.

When my mother in law passed away a few years ago we inherited an old Art Deco style mirror. Looking a little shabby & worse for wear it does however have such an interesting shape. So I started with the mirror’s shape then developed that to create the overall structure of the design. It is then a matter of putting together all the research & developing that into the design. I spend a lot of time drawing, I think it is one of my favourite parts of the process. I have always loved drawing.

I see the linocuts as an extension of that & a way to push my vision & drawing further – the art of creative-art thinking. There is the ‘practical’ aspect of what can actually be carved out of lino but then there is the creative side of shapes & patterns. After I have finished the drawing of the design I then photocopy it several times & start to work on the actual linocut design. I use black felt pens to work on the designs, often photocopying, pasting & then using white out to work on this side of the designing. I guess I am still ‘old school’ in that I love to work with the physicality of paper, pen, pencil & ink but I do sometimes ‘dabble’ with computers & photoshop. I can spend weeks refining the images into exactly what I am happy with in the design & which I am able to produce in the medium.

Then to the carving of the design in lino. I have talked about different type of lino previously but I am pretty settled with the grey Silkcut & even managed to visit their gallery & workshop in Melbourne when I was there last time. I love my new Pfeil linocutting tools as they have made the carving just so much easier reducing the strain on my shoulder. There are actually 12 different blades in my set & I think so far I have only used half of them! Like a painter may use different brushes a Fine Art linocut artist uses their carving tools to create different effect within the surface of the lino. Some use it to create rough textural pieces but mine is a more methodical approach. I see my linocuts as botanical in nature so I try to represent the wildflowers as close to their essence as I can and this includes within the carving to create the images.

An interesting aspect to my work is the ‘uneven’ edges. I do not feel limited by the square or rectangular shapes that lino is usually presented to us from the art shop. I have always sought to move outside these shop bought restrictions. In order to do that I need to carefully cut back the edges. I start by making several strong cuts into the from surface of the lino. I then very carefully split the lino edge I want to remove & fold it towards the hessian back. Then I turn the lino over & cut along the hessian backing with a sharp bladed knife.

Often there can be a rough edge which is not something I want to be on my print. So I carefully remove the rough edges until I have a clean smooth cut. You need to take care especially around pieces with more ‘organic’ lines rather than the straight edges within this particular design.

Then to the printing of the linoblock. I have talked printing previously so here is just a little gallery for ‘Blue Mountains Wildflowers’

Then the handcolouring. I print with oil-based ink & handcolour with watercolour. I like that I can sue multiple layers & colours within each section to create the overall vibrancy of the wildflowers. You will see on the first ‘handcolour proof’ patches of colour & notes on which colour mixes I used. Although the aim is to paint each one the same you can appreciate that each one is actually individually painted & there are always variations.

Blue Mountains Wildflowers - A Fine Art Linocut

Here is a little video from photos about this whole process of creating Blue Mountains Wildflowers.  For those who don’t want to read explanations & learn better through images rather than words, you can now watch it in a little video format.

Seaside Wildflowers – The Development of a new Fine Art Linocut

Lynette Weir - Seaside Wildflowers


The centrepiece artwork for an exhibition at the Northern Rivers Art Gallery was a new linocut – Seaside Wildflowers.
Back in February I was approached by the Northern Rivers Art Gallery Director Ingrid Hedgcock, to exhibit alongside an exhibition of the Master Woods Craftsman & his students. For me it came at a time when recently becoming an ’empty nester’ & my shoulder was looking like it was going to recover after surgery & allow me to work – carve – again. It was also when I really need to get my arts practice back on track after a few years of life being too hectic to gain a consistent approach to my work.

I made the decision that I would work on finally completing many works I had been developing over many years as well as creating the centrepiece for the exhibition a work based around the Wildflowers synonymous with Ballina.
I will talk more about the other works in the exhibition in future posts but will start with the Seaside Wildflowers & where it all began.

In the process of creating this work I took some video footage & sill photographs with the idea of creating an education video showing my process from the inspiration through to the completion of the artwork.
I have always loved the seaside – the beach, the rock formations, the sea, the wildlife & of course the Wildflowers or flora. Even though I grew up in Sydney we spent every holidays by the sea at my grandparents in Yamba. Woody Head was another favourite place where my great uncle & Aunt lived, it is a truly beautiful natural place. We also spent a lot of time over where I now live on the ‘plateau’ region behind Ballina with my other grandparents – not that far from the seaside. As kids we would spend many hours going to the beach but also exploring the surrounding landscapes. So I know this region really well.

I start this particular genre of my work with research – some of this is ‘formal’ – flora studies of regions, plant identification lists but also I go & spend some time wherever possible wandering around the region taking photos. I like to see the flora/Wildflowers I am going to be drawing & document that in my own photos. By taking my own photos it also give me the opportunity to explore the process of visualising each wildflower or plant & how & where that might be represented within the initial concept of the artwork exploring different images of the particular plant. I look at things like the structure, colour & overall impression of each.
As I have talked about before, my work starts with ‘flashes’ of ideas scribbled into small sketchbooks, on post it notes or on scraps of paper.

For Seaside Wildflowers it began as a quick sketch on a post it note which I have now stuck into one of my small sketchbooks with additional notes & ideas. For this artwork I have drawn on the flora lists of the region, the council guides for flora in the Ballina Shire, books of flora of the region, my own explorations of the Ballina seaside region, my own photographs of specific species & finally my memories of childhood holidays alongside living in this region for over 20 years.
One of my abiding memories of the flora or Wildflowers of this area is the stunning Pandanus – Pandanus tectorius or Screwpine.

These strong ‘structural’ small trees are integral to my childhood memories & they are such a strong presence along the seaside of this region. The fruit which starts as a small green ‘ball-like’ structure & slowly moves to yellow tones & finally a vibrant orange colour is the aspect most people would recognise. For me the depiction of the pandanus would need to include the fruit. Less obvious for many people are the flowers – many would not be aware of the flowers. So I made the decision to make the ‘wildflower’ front & centre for this piece. The flower starts as cream bracts inside which the flower heads develop but the slowly the whole long spike of flowers emerge with the female flowers ending in long spikes of cream flowers & bracts.

The long strap like leaves emerge in a spiral from a central point & form a cluster on the end of the rather tortuous trunk & limbs. I think the pandanus reflects the very nature of growing by the season it’s tough ‘wildness’ & so it was for me to become the pivotal image for this artwork.

I started with many possible flora species I could incorporate into the piece, more than I could actually use & so this is where after setting out the pandanus I explore the size, structure, colours etc of all the possibilities. I see this is the fine art aspect of developing my Linocuts – this is where my training, skill & inspiration as an artist rather than a craftsperson comes into being. I bring my drawing & compositional skills to this process & it can be both the most frustrating as well as enjoyable part of the developing of my artwork.

Once I finish the detailed drawing I work through further developing this drawing into a form that can be carved in Lino which is my chosen medium for this piece.

For me this involves inking the design into shape & spaces.

11 Seaside Wildflowers - TEMPLATE FINAL 1

I then carve this into Lino to be printed. For me these two further processes again involve choices & changes in the translations from drawing to final artwork.

Once the Lino is finished being carved I then print it in black ink & handcolour with watercolour the final artwork.

The hand colouring is not simply a ‘fill in the spaces’ it involves again skill & training in watercolour as a medium including colour, contrast, tone etc alongside the application of the paint.

I have taken some video footage of the processes which is a quick look at the whole process and it is now on youtube.

Music – ‘The Temperature of the Air on the Bow of the Kaleetan’

by Chris Zabriskie

Used with Permission…

Artists Linoleum – Lino for Linocuts…Linoprints

I must say there have been a few changes to the artists linoleum used to make linocuts/linoprints over the last 30 years or so. Many people will remember those old hard brown squares of lino we valiantly tried to carve in our high school art classes! Well they have progressed since then…thank goodness!!

Below are some of the samples of the lino that I have used over the past 20 years – much of which is from the past 10 years.

Just a few small thoughts of my experiences with these different types of artists lino.

This is the original hard lino from a very long time ago….


but it is hard to carve, turning many a high school student off linocuts for life


  This is the original grey silkcut lino/

I used this over a few years

Many of my earlier linoprints use this lino.


  This is the light brown lino silkcut replaced the lovely grey with, assuring me it was exactly the same just a different colour – I did not find this to be the case. I found it difficult to carve.

So sourced some other linoleum listed below….


  This is a very flexible easy to carve lino.

It has a smooth surface for printing and does not need to be heated for carving.

However I found for fine detail work it does have a tendency to chip off a little.


This is Armstrong dark brown lino.

I have found it carves nicely/easily but again can ‘chip’ off smaller fine details more easily than other lino but a little less than the light red brown lino above.


  This is the current light grey silkcut lino. It is a little firmer to carve than the above brown lino but it does chip less so can be better for finer detail.

I must say I do like this new style the silkcut have produced.


Copyright – Lynette Weir

Lino carving methods – carving tools and blades

These are the 4 main sizes of blades I use to carve my linoblocks – they are known as ‘V’ gauges and are blades designed to push away from you whilst you carve. There are other blades known as ‘pull’ blades designed to pull towards you as you carve – I have never used these.

The blades above fit into a handle when using them to carve lino.

Now at this point I need to stress that these particular carving tools are over 25 years old – they are certainly old and faithful and I guard them jealously. Not because they were hugely expensive but because out of long years of use they are comfortable. Sometimes it’s hard to let go of the comfortable. I have noted that a newer set of Speedball blades and handles are not the same as these – they are a different shape of handle and gauges and have less weight in the handle.

I have not the access to shops that sell the more expensive carving tools nor the finances at this point and I would need to feel them before I bought them but I also know that into the future I will need towards replacing these.

The end section on the right side of the above image below comes off and the spare blades can bet stored there but this is not something I do. I do also though use some padding I tape onto the end for the finer blade due to the constant pressure into the palm of my hand whilst carving. The end of the handle fits neatly and comfortably into the centre of my hand.

Essentially you need to find the blades and handles that best feel comfortable to you. As an aside I do not like the long straight wooden handled cheaper lino carving tools that are most used in schools. They contain only larger sized blades and foe me I find them cumbersome to use as I have a small hand and do a lot of fine carving.

Continue reading Lino carving methods – carving tools and blades

Keepin’ them sharp – Linocut blades

Essentially the lino blades that you use regardless of brand etc are a metal blade or knife designed as gouges. Continual use of the carving linoblocks will make them blunt and like any knife they need to be maintained and sharpened. this can be a delicate process and has taken me a good while to develop the skill of honing the blade to achieve a good cutting edge for my blades. On the end of each lino blade is a beveled edge that I feel needs to be maintained and kept sharp. You must be careful to not damage this edge nor significantly change the bevel/angle as you sharpen it. Like I said it can be a tricky process. Fortunately for me my Dad is really good at such things and has helped me out. So it may be helpful to find someone experienced with sharpening blades to help you at first until you can manage to work it out for yourself.

The method I use is as follows:

1. Being careful to maintain the angle or bevel of the blade I work the blade gently across (usually in a figure 8) a super fine sharpening stone and a good quality machine oil – I use this sparingly.


2. I then follow this up by using by a very fine sandpaper for inside and outside the V gouges – that I use occasionally whilst carving to sharpen particularly the inside of the V gouge. You can see the lines on this piece of sandpaper from folding it to work inside the V gouge.

3. Finally I use of a strong, thick piece of leather (you can attach it to a block of wood if this is easier for you) and either with or without a super fine grinding paste – I use this fairly often whilst carving to maintain a nice sharp edge for neat lines. Always work the blade by pulling it towards you at the correct angle for the bevel – it can take a while to ge the hang of it but as they say ‘practice makes perfect’ – well anyway it will get easier.

I find that as I carve and the blade becomes less sharp it is both harder to carve and more difficult to cut fine lines or edges – so if you are finding that once the carving seemed easier and is no longer that this is the time to look at sharpening your blades. For me the No 1 blade is the main blade I need to keep sharp as I am carving.

If you keep your blades well maintained and sharp you will find carving easier, neater and for me more rewarding.

Copyright – Lynette Weir

Carving Linoblocks – Carving Boards – Safety tips

WARNING!! Lino cutting tools are called ‘gouges’ for a reason! Their purpose is to gouge or carve the surface of the lino to create the design and as such they are sharp and can easily cause unwary users to end up with gouges fingers and hands.

I believe lino carving should come with a clear warning label and a large packet of bandaids!! Believe me if you are unwary and the gouge blade cuts you it hurts – I have done it many times and have a fair respect for these blades.

The secret to easier and cleaner carving is to keep your blades sharp and that means that you should take some basic precautions especially when you are first beginning carving.


The above shows an example of a simply and easily made carving board. It is essentially a flat piece of board with 2 small square dowel ends – one on top to push the lino up against and the one below to stop the board slipping forward across the table as you push through the lino whilst carving.


When it is placed on a flat on a table and used correctly it provides a solid and effective safety measure helping to guard against carving fingers.


Essentially the most common way to cut yourself is to place the hand that should be holding the lino with, behind the carving hand – essentially in front of the blade! Despite what you may think this is easy to do as when you are concentrating on carving and pushing the blade forward it seems natural to stop the lino being pushed forward as well by holding it with you hand. If you do this YOU WILL cut yourself! It is very easy to slip whilst carving through the lino and the carving blade to shoot forward in to the air. So it takes a bit of discipline but try to remember to place the lino up against the from ‘stopping board’ on your carving board and this will stop the lino and bear the brunt of any carving slips. Better to hit the timber than your hand!


For those times when you do slip and do end up cutting yourself. try to use the band-aid straight away to prevent the bleeding to stop as soon as possible.

Copyright – Lynette Weir

Warning!! Remember to always carve your design in reverse!!

On the left is a section of the linoblock carving of  a Tawny Frogmouth linocut design – ‘Sleepy Tawny’. It is the same size and companion image for ‘Tawny Stare’. The image on the right is the design template I develop before carving and use as a reference whilst carving.

Notice the difference?

They are a mirror image.

The important thing is to remember that if you want the final linocut to be the same as the original printed design you must carve it in reverse!!

This is particularly important if you are including lettering in your design otherwise you may need to be like Leonardo da Vinci and be able to read ‘mirror writing’.

Copyright – Lynette Weir

Transferring the design from paper to lino

The image on the right shows how I transfer my designs I have worked out on paper onto the linoblock.

After I have finished developing the design and inked it in as a black and white design I then used the old-time honoured tradition of…tracing the design onto greaseproof paper (non waxed) with a 2B/3B pencil, attached it face down on to lino on the back with masking tape over the wrapped edges, rubbing hard with a HB pencil over the penciled design, removing the paper and TA-DA!! Magic!!

Well at least when we were kids it seemed like magic…

Others use carbon paper etc but you need to remember to reverse the design…my method automatically transfers it in reverse by simply turning the paper over to transfer the graphite onto the block.

Other linocut artists draw directly onto the block without making a paper design, there can be an immediacy to this style but given my pedantic nature with my wildflowers, wildlife and artwork I like to have it all worked out beforehand.

Copyright – Lynette Weir

Linocut carving and 1970′s food warmers…

I know this seems an odd combination but on really cold days or average days where it is too hot to warm the room but not hot enough to help make the lino soft and pliable then I use the food warmer. Basically it was a trendy thing back in the 1970’s to use these electric food warmers on tables to keep casseroles etc warm for a dinner party

I have two – both of which belonged to my mother-in-law – she LOVED having large numbers of family and friends over with tables full of food. I actually don’t think these food warmers were used much as they seem brand new. I can also remember the warmers that had candles underneath. You can tell they are from the 1970′s by the ‘mission brown’ colour scheme and patternwork – the other one is that delightful 1970′s ‘orange tones’. They are however great because I set them up next to me and lightly warm the lino which makes it easier to carve. So for all you ‘lino-carvers’ out there – the next time you visit a garage sale or op shop check to see if they have one – they work exceptionally well.

Copyright – Lynette Weir